Desarrollo tecnológico. superficie reactiva

Autor. Co-de-iT + Mirco Bianchini and Alessandro Zomparelli

Investigación y desarrollo. Co-de-iT

Año. 2011

Web. http://www.co-de-it.com/wordpress/convoluted-inferences-foveas-secret-garden.html

Imágenes. http://www.co-de-it.com/wordpress/convoluted-inferences-foveas-secret-garden.html

Video. http://www.vimeo.com/29255834

Vía. http://www.co-de-it.com/

Descripción

Description

The eye is, in itself, a poor organ for vision: while our peripheral vision feeds our brain with a general but blurred image, our ability to perceive the details is limited to the narrow fovea (the only part of the retina that permits 100% visual acuity) in the eye’s retina. Vision is then a matter of unconscious inferences: making assumptions and conclusions from incomplete data, based on previous experiences.

Thriving on these defaults, the installation works on a varying range of perceptive and affective scales: the convolutions of the overall shape, generated from the simulated material behavior, cause an inferential reaction on the observer by showing an incomplete set of information about the general shape itself, which contours furthermore vibrate for the complexity of the component. This inference and the inability to perceive the details trigger an atractive process, but the complexity of the component detail can be appreciated only at a scale where the perception of the whole is lost; rolling backwards, it becomes clear that the effect of the whole is more than just the sum of the constituent parts.

The installation doesn’t embed a specific meaning or direct/indirect intentional metaphor about what has to be discovered or the discovery as a process, rather it is an experiment (or proof of concept) on how morphology, organization, material systems and patterns have the ability to trigger dynamic behavioral effects and interaction in space and time. Complexity is engaged on the level of articulating excess and exuberance as systems where form, space, material and ornament create an intricate elegance on a perceptual scale gradient.

Working on a strict budget and time constraint, our goal was to push the installation’s complexity as a result of aggregation and mutual relation of simple shapes, starting from the elementary geometric unit for structural resistance: the triangle. Our exploration proceeded in parallel experimenting simultaneously with components morphologies that were able to embed structure, space and ornament in a single element as well as overall organizations that could take care of structural, economic and perceptive issues solved through morphological response in order to maintain a readable ordering principle while still giving us margins and buffers that allowed us to manoeuvre the desired gradients of complexity as well as to verify the system’s effects and affects.

Co-de-iT

Desarrollo tecnológico. superficie reactiva

Autor. urbana arch

Investigación y desarrollo. urbana arch

Año. 2009

Web. http://www.urbanaarch.com/

Imágenes. http://www.urbanaarch.com/

Video. -

Vía. http://www.urbanaarch.com/

Descripción

Description

urbana is a multi-disciplinary design and architecture studio led by rob ley. the studio’s latest project is a large-scale haptic light installation that is located inside a new development project in los angeles. the installation is located at the top of a grand public stairwell, which leads to an underground subway station. the designers at urbana wanted to explore the idea of tactile desire within public space. while most public installations focus on the masses as an audience, lumenscape explores interaction on an individual level. the installation is composed of translucent tiles that have a unique texture and allow the light behind them to shine through to create a vivid glow. the light changes in colour and intensity over time, further promoting interactivity with the user. 

Desarrollo tecnológico. superficie reactiva

Autor. mab architects

Investigación y desarrollo. stavros didakis (soniconlab)

Año. 2011

Web. http://www.mabarchitects.com/album/plinthospavilion?p=1

Imágenes. http://www.mabarchitects.com/album/plinthospavilion?p=1

Video. http://vimeo.com/17786096 & http://vimeo.com/17037679

Vía. http://www.mabarchitects.com/

Descripción

Description

Concept:

Clay brick has been one of the most commonly used building materials, which exists for thousands of years. It has always been a symbol for solidity and reliability, for human scale, and in many cases it has also been admired for its sensual qualities. With plinthos pavilion we want to explore these same characteristics and add another quality – transparency, something that is normally not associated with clay brick. 21816 bricks are used to build a continuous floor and walls. Usually hidden perforated sides of the bricks are exposed thus creating permeable surface, which allow the flow of air, light and sound.

Interactivity:

Plinthos pavilion is a room that breathes. Visual transparency created by the perforated brick wall, becomes the channel of interaction between the visitors and the structure. A constant background sound-scape and an expanding RGB light communicate through the wall, transforming the structure into a living organism in which the visitor is completely involved.

The interactive mechanisms are engaged by touching or shaking stem light fittings installed in the floor. A camera records the movement of these fittings and transmits it to a computer. The computer transforms the visual signal into frequencies and finally translates them into a visual and audio installation. Each of the stem light fittings triggers a distinctive interplay of sounds recorded from the pavilion construction phase and affect the colour changing lighting performance. This generates layering of interweaving media reactions that engulfs the visitor from multiple directions and let him/her become the performer and the observer at the same time.

Plinthos pavilion is a multi-sensorial experience. It binds the tactile emotion of the rough brick surface, as a memory of ancient construction, with new technologies which stimulate the sense of the passing of time, relating the past with the future.

Desarrollo tecnológico. superficie reactiva

Autor. David Letellier

Investigación y desarrollo. David Letellier + Lab(au)

Año. 2010

Web. http://lab-au.com/#/projects/tessel

Imágenes. http://lab-au.com/#/projects/tessel

Video. http://vimeo.com/18240085

Vía. http://lab-au.com/#/projects/tessel & http://www.triangulationblog.com/2010/12/tessel.html

Descripción

Description

Tessel is a kinetic sound installation investigating the perception of sound and space.

The installation is constituted of a suspended and articulated topography of 4 x 2 m, subdivided into forty triangles. Twelve of them are fitted with motors and eight are equipped with audio transducers, which transform the surface into a dynamic sonic space. A dialogue between space and sound is created through this sculptural “choreography”. Our perception is altered, as the surface slowly modifies its shape.

From Tinguely’s poetic machines to Alexander Calder’s mobiles or Buckminster Fuller’s synergetics, Tessel combines influences that question the link between geometry, movement and chaos, thus continuing the quest for beauty in the synesthetic perception of sound and spatial phenomenons.

The name “Tessel” is derived from “tessellation”, a term applied to the geometric subdivision of a surface into plane figures, also known as “tiling”. It also describes a software technique that allows calculation of renderings through the subdivision of surfaces into polygons. The term has its origin in the Latin word ‘tessella’, describing the square tiles used to make mosaics.

Tessellation has been applied throughout history from ancient to modern times, from two to n-dimensional configurations and merges science and art through mathematics. Here Tessel is based on the ‘pinwheel pattern’, a non-periodic tiling coined by mathematicians Charles Radin and John Conway, which allows the creation of an infinitely complex geometry constructed with a simple single “seed”: a right triangle. Here, the pinwheel pattern is transformed, folded and transposed to the third dimension.

Tessel is a collaboration between French composer and artist David Letellier, and LAb[au], Belgian electronic arts studio. Tessel is a co-production of the galleries MediaRuimte (Brussels) and Roger Tator (Lyon), realised with the financial support of Arcadi, Dicream and the Commission des Arts Numériques de la Communauté Française de Belgique.

Desarrollo tecnológico. superficie interactiva

Autor. NONdesign

Investigación y desarrollo. Scott Franklin & Miao Miao

Año. 2010

Web. http://www.nondesigns.com/non/project.aspx?id=09052521090496

Imágenes. http://www.nondesigns.com/non/project.aspx?id=09052521090496

Video. -

Vía. http://www.nondesigns.com

Descripción

Este sistema modular de pared refleja a través  luz y texturas la actividad de los visitantes en el espacio expositivo. Con todos los sonidos producidos por el público, este muro responde mediante una serie de aperturas producidas en su superficie, permitiendo que la luz que existe detrás de ella, colme parte de su superficie.

Este sistema puede ser ampliado a cualquier tamaño de la pared. De igual forma su sensibilidad puede ser ajustada para reaccionar ante el nivel de volumen que exista en los sonidos producidos en su entorno.

Description

This modular wall system reflects the activity of visitors with light and texture. With every sound produced by its audience, the SOUND wall responds by opening its surface, allowing light to spill out across the textural surface.

The system is expandable to any wall size and its sensitivity is adjustable to react to the volume level within its environment.

Desarrollo tecnológico. superficie reactiva

Autor. Virginia Tech

Investigación y desarrollo. With a truly multi-disciplinary team, Virginia Tech has taken to heart one primary goal of the Solar Decathlon – to foster collaboration among students from different academic departaments.

Año. 2009

Web. http://www.lumenhaus.com

Imágenes. http://www.lumenhaus.com

Video. http://www.youtube.com/watch?v=1OSrTKklGOI&feature=related

Vía. http://www.lumenhaus.com

Descripción

Description

As a modern pavilion, LUMENHAUS is an architectural space of distinction. Where most energy-conscious houses are closed with strategic openings to resist heat transfer, LUMENHAUS has open, flowing spaces linking occupants to each other within the house and to nature outside. Inspired by the Farnsworth House by Mies Van Der Rohe, the north and south walls are all glass, maximizing the owner’s exposure to bright, natural daylight. The fully automated Eclipsis System, comprising independent sliding layers, permits a revolutionary design in a solar-powered house, while filtering light in beautiful, flowing patterns throughout the day.

LUMENHAUS does more than literally deliver a brighter day, however. LUMENHAUS epitomizes a “whole building design” construction approach, in which all the home’s components and systems have been designed to work together to maximize user comfort with environmental protection. LUMENHAUS uses technology optimally to make the owner’s life simpler, more energy efficient and less expensive. On the cutting edge of responsive architecture, LUMENHAUS can operate completely self sufficiently, responding to environmental changes automatically to balance energy efficiency with user comfort. LUMENHAUS is a zero-energy home that is completely powered by the sun. Other sustainable features include the use of passive energy systems, radiant heating and building materials that are from renewable and/or recyclable sources.

The name

LUMEN means “the power of light.” During the day, the house maximizes occupants’ exposure to natural daylight, which research shows improves mood and well-being. Energy collected during the day is symbolically radiated back out at night through a low-energy lighting system within the insulating panels. The color temperature of the white lights can be controlled by the occupant to again optimize mood and wellbeing.

HAUS is a reference to the BauHaus movement, and architect Mies Van Der Rohe, whose Farnsworth House inspired LUMENHAUS. The Virginia Tech College of Architecture and Urban Studies also has roots in the Bauhaus movement. The word Haus in German means both house and home, reflecting the multi-audience appeal of LUMENHAUS.

Archive Responsive Environments by Fran Castillo

Interactive Environment & AutoAdaptive Architecture

Fran Castillo (Sevilla, Esp.) nos presenta su blog Responsives Architectures un importante y útil archivo que se encarga de recopilar todas aquellas obras que relacionadas a la tecnologías electrónicas y digitales así como a la creación y manipulación de materiales, se vuelven un interesante tema involucrado a la construcción de entornos y nuevas posibilidades en las superficies de la arquitectura.

[Responsives Architectures] Explora nuevos sistemas de visualización que incorporen múltiples niveles de información en el diseño de sistemas arquitectónicos dinámicos, así como la exploración de nuevas gramáticas de morfogénesis mediante entornos computacionales e investiga los nuevos agenciamientos matéricos constituidos por datos, sensores, microcontroladores, protocolos de comunicación, sistemas parámetricos que posibiliten la emergencia de sistemas arquitectónicos autoadaptativos.

La actual investigación en la que estoy inmerso pretende generar el diseño de ontologías entorno a dominios de arquitecturas computacionales, que nos posibiliten la construcción de un contexto de conocimiento que por su interacción dinámica entre especificaciones formales definidas genere la emergencia de nuevos sistemas de diseño arquitectónicos evolutivos.

La Investigación [Responsives Architectures] se estructura entorno a cuatro dimensiones. La morfogénesis de estructuras arquitectónicas será el resultado entre la recombinación en términos de emergencia de los diferentes niveles:

01
[Visual analytics]
02
[City Data Sensing]
03
[AutoAdaptive Architecture]
04
[Computational Optimization of Design]

nota del blog [Responsives Architectures]

[research.francastillo.net]
[lab.francastillo.net]
[francastillo.net]

mailcontact_
f32@francastillo.net

Desarrollo tecnológico. superficie interactiva

Autor. Felix Hardmood Beck, Simon Schiessl & Andrea Bassi

Investigación y desarrollo. Felix Hardmood Beck, Simon Schiessl & Andrea Bassi

Año. 2010

Web. http://www.felix-beck.de/?p=517

Imágenes. http://www.designboom.com

Video. http://www.youtube.com/watch?v=erGBTAmqPs8

Vía. http://www.designboom.com

Descripción

Description

‘soxels’ is an accoustic media facade developed by that transforms visuals into auditory images. the key components are the sound pixels, or soxels, a scaleable array of speakers, and a feed-in point for streaming an endless number of audio-channels to provide each speaker with an individual sound. DSP technology opens the spectrum from processing natural sounds, transforming them, or generating artificial sounds. the developed software is able to mix all integrated sound layers on any speaker anywhere on the wall.

the ‘soxels’ project was developed and prototyped with a matrix of approximately 1000 speakers by simon schießl and felix hardmood beck. it was presented with the italian soundartist andrea bassi during the DMY international design festival berlin 2010.

Desarrollo tecnológico. superficie interactiva

Autor. Dr. Zane Berzina & Architect Jackson Tan

Investigación y desarrollo. Dr. Zane Berzina, Architect Jackson Tan

Principal Investigator - Prof. Janis Jefferies, Main Researcher - Dr. Zane Berzina, Architect - Jackson Tan, Textile Engineering - Dr. Andreas Neudeck and the TITV team, Sound Engineering - Dr. Tim Blackwell, Material Science - Dr. Natalie Stingelin-Stutzmann

Año. 2010

Web. http://www.zaneberzina.com/e-staticshadows.htm

Imágenes. http://www.zaneberzina.com/e-staticshadows.htm

Video. -

Vía. http://www.zaneberzina.com/

E-Static Shadows

The project ‘E-Static Shadows’ is a practise-based experimental research project by designer Dr. Zane Berzina and architect Jackson Tan which creatively explores the speculative and poetic potential of static electricity found in our everyday environments, surrounding our everyday interactions. The aim of the project is to investigate how electrostatic energy could either be effectively utilised or play a part in the development of active, responsive and interactive textile systems which would be capable of detecting, translating and displaying this energy into dynamic audio-visual patterns. This design pilot project studies the possible translations of electrostatic energy into other types of energy such as light, sound and motion using specially engineered intelligent textile systems as mediators and displays for these processes.

The focus of the proposed project is held on the synthesis between the creative approach to textile practice and technical innovations in electronics, soft circuitry and new materials in order to create sensory environments that actively respond to electrostatic fields generated by human interactions. The research project deals with issues across the fields of art, design, craft, sound, technology and material science researching and addressing the positive and playful potential of static electricity. The underlining intention is to research how the easily accessible but little utilised phenomena of electrostatic can add to our sensory experiences, advance the design knowledge of interactive environments and eventually improve our quality of life. This provides opportunities for new speculations regarding the role of static electricity within a built environment.

Electrostatic energy is an essentially regenerative energy. Therefore, to some extent, this project also explores the potential of the electrostatic energy as a certain type of renewable energy that, under circumstances, can easily be generated virtually when and where desired. Eventually this interrogation could lead to interesting uses of this energy not only in an interactive art and design context but also in other fields such as architecture or in the development of new technologies and processes.

Context

A short historical de-tour

Static electricity is one of the oldest known physical phenomena. The ancient Greeks noticed the amazing ability of amber, once rubbed, to attract light materials despite gravitational forces. Because of its electrostatic properties amber in Greek means ‘electron’.

For a long time electrostatic continued to be a source of mystery and amazement, before the rational and scientific approach to understanding the world came about. In the early 17th century fascinating devices and machines that tread between the boundaries of magic and science, conceptually and perceptually, were evolved through the unravelling of static electricity, including the first electrostatic generator by Otto van Guericke.[1] In 1901 various scientific experiments culminated into Dr. Nikola Tesla’s plan to wirelessly broadcast electrostatic power to the whole world from his facility at Wardenclyffe in New York.[2]

Public electrostatic demonstrations and performances easily became one of the crowds’ favourite entertainments in the 17th to 19th century due to its seemingly miraculous, contradicting experiences. Just one example is Stephen Gray’s experiment premiered in London in 1730. He suspended an eight year old boy in mid air, utilising the human body as a medium for static electricity, attracting paper and light objects to the boy’s negatively charged face and hands.[3] This type of showmanship converged both artistic and scientific fields of endeavour creating discourse about the employment of human architecture as a medium for interactions with the environment within the context of electrostatics.

Electrostatics today

The existence of constant motions and interactions within urban spaces induces a huge amount of electrical charges in our daily life. Despite this fact, electrostatic has been one of the most underrated forms of energy existing today. The Electrostatics Group of the Institute of Physics states that: “Electrostatics is at the same time both a well-defined subject and a very ill-defined area of research and technology.”[4] Little research and investigation has been done to test the effect of these charges in relation to the human body as well as the built environment with the exception of its effect on electronic devices. In modern domestic and industrial environments it is usually regarded as a nuisance or hazard responsible for electrostatic shocks, process problems and industrial fires. Therefore in contemporary man’s habitat a rather limiting approach is exercised towards electrostatics in order to reduce electrostatic discharge.

Typically designers of today are embracing restrictive methods by relocating electrostatic into the functional domain. Efficient but prosaic anti-static design solutions are employed to eradicate electrostatic in order to protect sensitive electronic components. Although these solutions, including developments in textiles, are proven to be effective, looking at electrostatic in a different way could provide striking poetic conversations with the environment. In 1996 Dr. Frances Geesin and Ron Geesin suggested a different approach to electrostatic in their collaborative work ‘Tri-Aura’. With the help of electronics and computer engineer Spencer Childs they developed interactive textile sculptures which can be triggered by the proximity and movements of the human body.

‘Bad Hair Day‘ – a constantly moving, static lampshade by designer Afroditi Krassa offers another delightful take on product design by employing electrostatics. The lampshade, which is covered in long yarn filaments, becomes statically charged once the light is switched on. This results in the “hair” rising, as if the lamp was a living organism, and they become attracted to any negatively charged material, such as human skin.

The research also draws significantly on Jackson Tan’s background in interactive architecture and his experiments related to the field of electrostatics. In 2005 these practical explorations culminated with the design of a ‘hard’ electrostatic detecting panel that responds to the presence of charges. It was our starting point and our joint challenge to translate this ‘hard’ technology into the medium of soft textiles.

Within this context the research project was seeking to reconsider the role static electricity plays in human environments using creative strategies and provoking a playful interaction with this natural force. This investigation also concentrates on potentially positive uses and benefits of electrostatic for the development of interactive environmental design strategies using textiles as a medium. The rapidly developing field of smart textiles in combination with the progress in micro-electronics informed and formed the research. By conceptualising, engineering and optimising electronic textile systems the project investigates potential for technology that allows us to interact with the hidden electrostatic world.

1. Bernard Seeman. The Story of Electricity and Magnetism. Harvey House Inc, New York, USA, 1967, p. 21
2. Tower of dreams.
3. Stephen Gray. A Letter Containing Several Experiments Concerning Electricity. Royal Society Philosophical Transactions 37 (1731/1732), London, UK, p. 18-44.
4. Electrostatics Group Homepage, Institute of Physics.

Process

Process_Design and technology development

The two-year research project was divided into three main stages. Here it is possible to have a small insight into our working process concerned with the design and technology development in the form of a visual diary..

STAGE 1 (Click here)

STAGE 2 (Click here)

STAGE 3 (Click here)

Artefact

As a result of this cross-disciplinary project an interactive textile system is developed, informed by the research, that suggests ways in which electrostatic can play an important part in the construction of interactive environment scenarios.

A deeper understanding of the subject is achieved through an interpretation of the charges into human sensorial modalities – vision and hearing. Therefore this playful and fully analogue concept offers new sensory experiences to its viewers.

The electronic textile acts as a static mirror responding to the usually invisible charges generated by people interacting with materials and making them visible. Equipped with tiny LED lights, transistors and woven electronic circuits seamlessly integrated into the electronic textiles structure, the installation is able to create transient shadows on the textile display in areas which detect a presence of electrostatic fields, feeding on the charges created by viewers and objects. Simultaneously it acts as a simple sonic instrument in response to the presence and intensity of charges and human proximity.

Exhibition

The ‘E-Static Shadows’ project was exhibited at the Dana Centre, Science Museum London for the first time on March 6th and from the 9th to the 11th 2009, 10 – 5pm.

The visitors of the installation were invited to act as players in this interactive design scenario, exploring the electrostatic fields of various materials in dialogue with their own bodies and the reactive electronic cloth. The soft installation registered the amount and intensity of the charges exposed to the sensory textile membrane and translated them into a series of transient audio-visual patterns.

It is hoped that ‘E-Static Shadows’ provokes a higher awareness of invisible static electricity and its hidden potential leading to a better understanding of interactions between people; people and objects/materials; people and space.

The interactive installation was accompanied by a public presentation by the research team and discussions with invited scientists.

The Dana Centre address:
The Science Museum’s Dana Centre
165 Queen’s Gate
South Kensington
London
SW7 5HD
www.danacentre.org.uk/aboutus/location

Contributers to the exhibition and the public event

Dana Centre, Science Museum London

Dr. Frances Geesin, Reader in Materials and Textiles, London College of Fashion

Dr. Mark Miodownik, Materials Library,
Kings College London

Dr. Nilton Renno and Steven A. Rogacki,
Atmospheric, Oceanic and Space Sciences,
University of Michigan

KASTILO (materials)
www.kastilo.com

Team

Principal Investigator
Prof. Janis Jefferies
Constance Howard Resource and Research Centre in Textiles / Goldsmiths Digital Studios, Goldsmiths College, University of London

Main Researcher
Dr. Zane Berzina
Constance Howard Resource and Research Centre in Textiles / Goldsmiths Digital Studios, Goldsmiths College, University of London

Architect
Jackson Tan
in square lab, London

Textile Engineering
Dr. Andreas Neudeck and the TITV team
TITV Greiz – The Institute for Specialised Textiles and Flexible Materials

Sound Engineering
Dr. Tim Blackwell
Computing Department, Goldsmiths College, University of London

Material Science
Dr. Natalie Stingelin-Stutzmann
Queen Mary University of London, Department of Materials

Resource: http://www.zaneberzina.com/e-staticshadows09/support.htm

Desarrollo tecnológico. superficie reactiva

Autor. The team of Studio Roosegaarde

Investigación y desarrollo. The team of Studio Roosegaarde; Peter de Man (partner in RnD), Mafalda Rangel, Leendert Brak, Simon Bond, Onur Eren, Harm Jona, Rico Minten, Mark Schouten, Jop Struik and Teun Vinken. Special thanks to Greg.

Año. 2010

Web. www.studioroosegaarde.net/project/Upcoming: Lotus 7.0

Imágenes. www.studioroosegaarde.net/project/Upcoming: Lotus 7.0

Video. http://www.youtube.com/watch?v=duYD2mED20Q

Vía. www.studioroosegaarde.net/project/Upcoming: Lotus 7.0

Descripción

Description

Lotus 7.0 is an organic wall made out of smart foils which open while interacting with human behavior.

Walking by ‘Lotus 7.0′ its hundreds of squares unfold themselves in an organic way; creating little see-troughs between private and public. Here physical walls become alive, in a poetic morphing of space and people.

Specs:
Curved wall of several meters with hundreds of smart foils, lamps, sensors, software and other media.

Artist:
Daan Roosegaarde

In collaboration with:
The team of Studio Roosegaarde; Peter de Man (partner in RnD), Mafalda Rangel, Leendert Brak, Simon Bond, Onur Eren, Harm Jona, Rico Minten, Mark Schouten, Jop Struik and Teun Vinken. Special thanks to Greg.
Photography by Paul Swagerman and Daan Roosegaarde. Trailer movie by Natanael Gama.

Desarrollo tecnológico. superficie interactiva

Autor. PROJECTiONE

Investigación y desarrollo. PROJECTiONE (Elizabeth Bonne, Adam Buente, Eric Brockmeyer & Kyle Perry)

Año. 2009

Web. http://www.projectione.com/morpholuminescence/

Imágenes. http://www.projectione.com/morpholuminescence/

Video. http://vimeo.com/6756230

Vía. http://www.projectione.com/

Descripción

Description

MorphoLuminesence is a kinetic ceiling prototype, originally described as a simple surface in Rhino. The surface was triangulated into panels or ”petals” using a combination of the PanelingTools plug-in and manual modeling based on a specific tessellation logic. “Morpho” consists of these kinetic petals, laser cut from white acrylic, which hang from stems of clear tubular acrylic with planar elbow joints. The acrylic tubes were laser cut using custom fabricated jigs to create angles and grooves along each piece. The compound joints of each petal were created using unique laser cut acrylic angles and pivoting model airplane hinges. The surface is actuated using monofilament attached to small, high torque servos. The servos are mounted to acrylic towers above the MDF top surface, providing maximum leverage. Variable value RGB LEDs, above the petal surface, are tuned across the visual spectrum to provide a wide variety of lighting effects.

The MDF soffit was modeled in Rhino as a network of the stems. Although the original form was a NURBS surface, the tooling patterns and g-code where generated using Mastercam. The preview modes allowed us to tweak the step sizes until we could achieve the right aesthetic. The ridges allowed material to be placed where it was structurally needed to keep the petals stable and fixed. The top of the soffit became the circuit board for the LED’s and base for the servo towers.

A series of prototypes informed the shape and structure of the components that create the overall form. Acrylic panels were flexed to their breaking points, fishing line was stressed, and multiple materials were tested for the
rigid top surface including, HDF, MDF, Particleboard, and High Density Foam.

The surface reacts to people standing and moving beneath it, as Arduino micro-controllers are used to receive infrared sensor data and to control the position of the servos. The sensors detect speed and direction of people in relation to the piece. If a user stands still for a long enough period of time, the petals will retract into the completed surface, but once activated by human occupation, the piece opens and closes pods.

Desarrollo tecnológico. superficie interactiva

Autor. Djeff Regottaz

Investigación y desarrollo. Djeff Regottaz, Visual System and Fondation Jean-Luc Lagardère

Año. 2009

Web. http://www.djeff.net/breeze.htm

Imágenes. http://www.djeff.net/breeze.htm

Video. http://vimeo.com/5261534

Vía. http://www.djeff.net

Descripción

Description

By using your body movement, you can change the way the screen lights up and blows air (through small fans). The concept is about changing your surroundings through innocent gestures. We all effect our society and environment through our actions.

Artist’s interview:

What Breeze Reflection and what the next door installation does our relationship to the environment?

Djeff: Reflection Breeze is a sensitive and poetic on the concept of human presence and a sense of innocence in all our actions, to be aware that any gesture and presence causes a change in the environment and its original state.

What are you interested in using the technology?

Djeff: The fact that the technology is heavily ingrained in our society allows me to consider it as an artistic material. This gives me a field of intervention varied.

What would your own big question about the environmental changes now?

Djeff: Take on our environmental and civic responsibility in our technology choices?

Credits: Image/montage Valère Terrier

Desarrollo tecnológico. superficie reactiva

Autor. Simone Giostra and Partners

Investigación y desarrollo. Simone Giostra and Partners

Año. 2010

Web. http://www.sgp-architects.com

Imágenes. http://inhabitat.com

Video. -

Vía. http://inhabitat.com

This brilliant SolPix LED wall combines three of our favorite things: energy efficient lighting, solar power, andbling. The giant media wall is embedded with LED lights and a photovoltaic array, plus it can also function as a set of heavy-duty blinds — each piece shifts according to the focus of sunlight. The SolPix is the largest prototype of it’s kind and will go on display this Friday at the Cooper-Hewitt National Design Museum’s Design Triennial in New York City. The theme this year is tackling the world’s greatest problems, and the SolPix is one flashy answer to our big energy issue.

The SolPix is not only great looking, its also self aware — it monitors its own energy performance. The LED display flashes the energy collection and consumption through motion graphics that run across its facade. The SolPix is apparently one of the largest pieces included in the Design Triennial, and its designers, Simone Giostra and Partners hope that architects will use the SolPix in the future for large-scale building facades.

“The National Design Triennial: Why Design Now?” will display a host of innovative solutions to a our most pressing issues — including energy, mobility, community and health among others. Simone Giostra and Partners’ SolPix will be displayed alongside wave power plants modeled after seaweed, solar concentrating panels that use mirrors to amplify light, and other renewable energy innovations — we can’t wait to visit the exhibition to see what’s in store for the future!

Resource: Brit Liggett by http://inhabitat.com

Desarrollo tecnológico. superficie autoactiva

Autor. SENSEable City Laboratory

Investigación y desarrollo. SENSEable City Laboratory in collaboration with ARES Lab (Aerospace Robotics and Embedded Systems Laboratory)

Año. 2010

Web. http://senseable.mit.edu/flyfire/#

Imágenes. http://senseable.mit.edu/flyfire/#

Video. http://www.youtube.com/watch?v=CnEN9B18v6Q&feature=player_embedded

Vía. http://senseable.mit.edu/flyfire/#

Descripción

Description

Flyfire, a project initiated by the SENSEable City Laboratory in collaboration with ARES Lab (Aerospace Robotics and Embedded Systems Laboratory) aims to transform any ordinary space into a highly immersive and interactive display environment.

In its first implementation, the Flyfire project sets out to explore the capabilities of this display system by using a large number of self-organizing micro helicopters. Each helicopter contains small LEDs and acts as a smart pixel. Through precisely controlled movements, the helicopters perform elaborate and synchronized motions and form an elastic display surface for any desired scenario.

With the self-stabilizing and precise controlling technology from the ARES Lab, the motion of the pixels is adaptable in real time. The Flyfire canvas can transform itself from one shape to another or morph a two-dimensional photographic image into an articulated shape. The pixels are physically engaged in transitioning images from one state to another, which allows the Flyfire canvas to demonstrate a spatially animated viewing experience.

Flyfire serves as an initial step to explore and imagine the possibilities of this free-form display: a swarm of pixels in a space.

For more information, please contact:
senseable-fly@mit.edu

Press Release:
MIT researchers develop new display system with flying pixels – Feb 19, 2010

Team
SENSEable City Lab:
Carlo Ratti Director
Assaf Biderman Assoc. Director
E Roon Kang Team Lead: 2nd Phase
Carnaven Chiu Visual Designer
Caitlin Zacharias
Shaocong Zhou

ARES Lab:
Emilio Frazzoli Director
Erich Mueller

Thanks to:
Paula Aguilera